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Artículos de revistas sobre el tema "Piccinini"

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Autor: Grafiati

Publicado: 4 de junio de 2021

Última modificación: 1 de febrero de 2022

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1

Prelevic, Dusko. "Access granted to Zombies". Theoria, Beograd 60, n.º 1 (2017): 58–68. http://dx.doi.org/10.2298/theo1701058p.

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In his ?Access Denied to Zombies?, Gualtiero Piccinini argues that the possibility of zombies does not entail the falsity of physicalism, since the accessibility relation can be understood so that even in S5 system for modal logic worlds inaccessible from our world are allowed (in the case in which the accessibility relation is understood as an equivalence rather than as universal accessibility). According to Piccinini, whether the zombie world is accessible from our world depends on whether physicalism is true in our world, which is something that cannot be answered in a non-question-begging way. In order to show this, he recalls a well known strategy of making a parody of the zombie argument. After pointing out that Piccinini?s strategy of parodying the zombie argument renders his former strategy, based on the distinguishing between the two notions of accessibility, redundant, I recall the two ways of handling parodies of the zombie argument. In addition, I argue that persisting on the distinction between accessibility understood as an equivalence and universal accessibility in dealing with the zombie argument relies upon accepting modal dualism (a view that there are two spaces of possibilities rather than one), which is something usually dismissed for methodological reasons (simplicity in particular). Given that Piccinini has not provided new arguments neither in favour of modal dualism nor in favour of parodying the zombie argument, the conclusion he infers remains unsupported by the premises he uses.

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2

Colombo, Matteo. "Gualtiero Piccinini: Physical Computation: A Mechanistic Account". Minds and Machines 26, n.º 3 (20 de agosto de 2016): 307–12. http://dx.doi.org/10.1007/s11023-016-9397-y.

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3

Machery, Édouard. "Replies to Lombrozo, Piccinini, and Poirier and Beaulac". Dialogue 50, n.º 1 (marzo de 2011): 195–212. http://dx.doi.org/10.1017/s0012217311000199.

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4

Fresco, Nir. "Physical Computation: A Mechanistic Account, by Gualtiero Piccinini". Australasian Journal of Philosophy 95, n.º 3 (21 de julio de 2016): 625–26. http://dx.doi.org/10.1080/00048402.2016.1207692.

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5

Ricciardi, Tonia. "A sharp Hölder estimate for elliptic equations in two variables". Proceedings of the Royal Society of Edinburgh: Section A Mathematics 135, n.º 1 (febrero de 2005): 165–73. http://dx.doi.org/10.1017/s0308210500003826.

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We prove a sharp Hölder estimate for solutions of linear, two-dimensional, divergence-form, elliptic equations with measurable coefficients, such that the matrix of the coefficients is symmetric and has unit determinant. Our result extends some previous work by Piccinini and Spagnolo. The proof relies on a sharp Wirtinger type inequality.

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6

Piloni Petri, Malena, Shalimar Gallon y Elem Duarte Vaz. "OS SENTIDOS DO TRABALHO PARA DOCENTES DE PÓS-GRADUAÇÃO STRICTO SENSU: UM ESTUDO COM DOCENTES DAS ÁREAS DE ADMINISTRAÇÃO E EDUCAÇÃO". Revista Alcance 25, n.º 3(Set/Dez) (28 de febrero de 2019): 366. http://dx.doi.org/10.14210/alcance.v25n3(set/dez).p366-380.

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O objetivo da pesquisa é analisar os sentidos do trabalho para docentes de pós-graduação stricto sensu das áreas de Administração e Educação do Estado do Rio Grande do Sul. A pesquisa realizada é de natureza descritiva com abordagem qualitativa. A coleta de informações foi realizada por meio de 27 entrevistas com roteiro semiestruturado e as informações analisadas com base na técnica de análise de conteúdo. Para os entrevistados, um trabalho que tem sentido proporciona satisfação pessoal, realização e identidade, está organizado de forma que apresente objetivos claros e resultados úteis, que proporcione possibilidades de estabelecer relações interpessoais, inserção social e que seja moralmente aceitável. Os resultados mesclam os sentidos do trabalho encontrados por Morin (2001), Morin, Tonelli e Pliopas (2003), Oliveira, Piccinini, Fontoura e Schuweig (2004) e Piccinini, Oliveira, Fontoura e Schweig (2005), apresentando as características de um trabalho que tem sentido. Gerencialmente, os resultados alcançados podem auxiliar as IES em questões referentes à organização do trabalho docente, como a burocracia, os excessos de reuniões, a carga excessiva de trabalho e a má divisão dos cargos de gestão.

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7

Machery, Edouard. "How to Split Concepts: A Reply to Piccinini and Scott*". Philosophy of Science 73, n.º 4 (octubre de 2006): 410–18. http://dx.doi.org/10.1086/516812.

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8

Hutta, Jan S. "Andere Geborgenheiten: Topophilie jenseits des Authentizitätsdiskurses". sub\urban. zeitschrift für kritische stadtforschung 3, n.º 2 (14 de agosto de 2015): 109–24. http://dx.doi.org/10.36900/suburban.v3i2.194.

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Der Beitrag unterzieht Gaston Bachelards Poetik des Raumes einer kritischen Lektüre hinsichtlich ihres humanistischen Essentialismus. Dabei werden zugleich die methodologischen Impulse einer ‚Topo-Analyse‘ hervorgehoben, welche poetische Ausdrucksformen in ihrem konstitutiven Bezug zu ‚Subjektivität-im-Raum‘ zur Geltung bringt. Bachelards Fokus auf ‚topophile‘ Verhältnisse von Subjekt und Raum wird anschließend, mit konzeptionellem Bezug auf Walter Benjamin und Donna Haraway, im Rahmen eines de-essentialisierten Ansatzes nachgegangen. Im Zusammenhang mit Skulpturen der Künstlerin Patricia Piccinini werden so Möglichkeiten ‚anderer Geborgenheiten‘ aufgezeigt.

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9

Iacob, Anisia. "Human vs. Non-human in Art: the Posthuman Sculptures of Patricia Piccinini". Journal for Social Media Inquiry 2, n.º 1 (6 de julio de 2020): 87–99. http://dx.doi.org/10.18662/jsmi/2.1/8.

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10

Alves, Flávio Macedo y Ângela Lúcia Bagnatori Sartori. "Nectandra Rol. ex Rottb. (Lauraceae) no Mato Grosso do Sul, Brasil". Acta Botanica Brasilica 23, n.º 1 (marzo de 2009): 119–29. http://dx.doi.org/10.1590/s0102-33062009000100015.

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O trabalho apresenta o estudo taxonômico das espécies do gênero Nectandra no Mato Grosso do Sul, Brasil. Baseados na análise morfológica dos espécimes coletados em diferentes regiões do Estado são confirmados oito espécies de Nectandra: N. amazonum Nees, N. cissiflora Nees, N. cuspidata Nees, N. falcifolia (Nees) J.A. Castigl. ex Mart. Crov. & Piccinini, N. gardneri Meisn., N. hihua (Ruiz & Pav.) Rohwer, N. megapotamica (Spreng.) Mez e N. psammophila Nees. É fornecida uma chave de identificação para as espécies e apresentados descrições morfológicas, dados de distribuição geográfica, habitat, aspectos fenológicos, comentários taxonômicos e ilustrações para cada espécie.

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11

Neves, Fabrício Monteiro, Alane Nóbrega, Guilherme Gomes, Luana Marinho y Pedro Momag. "Arte com Ciência: a propósito de futuros (pós)existentes na arte de Patricia Piccinini". Arquivos do CMD 4, n.º 1 (6 de agosto de 2016): 106–218. http://dx.doi.org/10.26512/cmd.v4i1.9178.

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12

Freni, Giovanni. "Capitelli a foglie nella Firenze del Due e Trecento: "Fogliame rustico e barbaro". Chiara Piccinini". Speculum 79, n.º 3 (julio de 2004): 823–24. http://dx.doi.org/10.1017/s0038713400090412.

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13

Tura, Andrea y Giovanni Pacini. "Comment on Piccinini and Bergman The Measurement of Insulin Clearance. Diabetes Care 2020;43:2296–2302". Diabetes Care 44, n.º 2 (20 de enero de 2021): e35-e35. http://dx.doi.org/10.2337/dc20-2444.

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14

Gastaldelli, Amalia, Ralph A. DeFronzo y Marzieh Salehi. "Comment on Piccinini and Bergman. The Measurement of Insulin Clearance. Diabetes Care 2020;43:2296–2302". Diabetes Care 44, n.º 5 (mayo de 2021): e98-e99. http://dx.doi.org/10.2337/dc20-2911.

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15

Kaper, Hans G. "Ordinary Differential Equations in $R^n $—Problems and Methods (L. C. Piccinini, G. Stampacchia and G. Vidossich)". SIAM Review 27, n.º 4 (diciembre de 1985): 596–98. http://dx.doi.org/10.1137/1027168.

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16

Bergman, Richard N. y Francesca Piccinini. "Response to Comment on Piccinini and Bergman The Measurement of Insulin Clearance. Diabetes Care 2020;43:2296–2302". Diabetes Care 44, n.º 5 (mayo de 2021): e100-e101. http://dx.doi.org/10.2337/dci20-0080.

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17

Shen, Alice, Susanne Gahl y Keith Johnson. "Didn't hear that coming: Effects of withholding phonetic cues to code-switching". Bilingualism: Language and Cognition 23, n.º 5 (31 de enero de 2020): 1020–31. http://dx.doi.org/10.1017/s1366728919000877.

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AbstractCode-switching has been found to incur a processing cost in auditory comprehension. However, listeners may have access to anticipatory phonetic cues to code-switches (Piccinini & Garellek, 2014; Fricke et al., 2016), thus mitigating switch cost. We investigated effects of withholding anticipatory phonetic cues on code-switched word recognition by splicing English-to-Mandarin code-switches into unilingual English sentences. In a concept monitoring experiment, Mandarin–English bilinguals took longer to recognize code-switches, suggesting a switch cost. In an eye tracking experiment, the average proportion of all participants' looks to pictures corresponding to sentence-medial code-switches decreased when cues were withheld. Acoustic analysis of stimuli revealed tone-specific pitch contours before English-to-Mandarin code-switches, consistent with previous work on tonal coarticulation. We conclude that withholding anticipatory phonetic cues can negatively affect code-switched recognition: therefore, bilingual listeners use phonetic cues in processing code-switches under normal conditions. We discuss the implications of tonal coarticulation for mechanisms underlying phonetic cues to code-switching.

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18

Larangeira, Sonia Guimarães. "Transformações na realidade do trabalho no Brasil e em Portugal". Sociologias, n.º 12 (diciembre de 2004): 16–31. http://dx.doi.org/10.1590/s1517-45222004000200002.

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Os artigos reunidos no dossiê deste número da revista Sociologias foram apresentados em encontros realizados no Brasil e em Portugal como parte de atividades do Programa de Cooperação CAPES-GRISCES denominado Transformações do Trabalho e do Emprego no Contexto da Reestruturação Econômica - coordenado, no Brasil, pela Prof. Dra. Valmíria Piccinini e, em Portugal, pela Prof. Dra. Ilona Kovács, envolvendo os Programas de Pós-Graduação em Administração e Sociologia da UFRGS e o Centro de Investigação em Sociologia Econômica (SOCIUS) do Instituto Superior de Economia e Gestão da Universidade Técnica de Lisboa e, como instituição associada, o Departamento de Ciências da Administração da Universidade Federal de Santa Catarina, Florianópolis, SC. O referido programa de intercâmbio tem possibilitado aos pesquisadores envolvidos uma profícua discussão sobre resultados de pesquisas acerca da realidade do trabalho em transformação nos dois países, de tal forma que julgamos oportuno que, ao menos parte daquelas contribuições, se torne acessível ao público interessado, o que fazemos nesta oportunidade.

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19

Gundle, Stephen. "Marco Giusti and Alberto Piccinini, Ambra, Nuova ERI, Turin, 1994, 121 pp., ISBN 88-397-0902-9, 18,000 Lire." Modern Italy 1, n.º 1 (1995): 129–30. http://dx.doi.org/10.1017/s135329440000572x.

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20

Shagrir, Oron. "Review ofPhysical Computation: A Mechanistic Accountby Gualtiero PiccininiGualtiero Piccinini,Physical Computation: A Mechanistic Account. Oxford: Oxford University Press (2015), 313 pp., $65.00 (cloth)." Philosophy of Science 84, n.º 3 (julio de 2017): 604–12. http://dx.doi.org/10.1086/692151.

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21

Ashbrook, W. "Didon. Niccolo Piccinni". Opera Quarterly 20, n.º 1 (1 de enero de 2004): 134–36. http://dx.doi.org/10.1093/oq/kbh017.

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22

Wolfe, Cary. "Human, All Too Human: “Animal Studies” and the Humanities". PMLA/Publications of the Modern Language Association of America 124, n.º 2 (marzo de 2009): 564–75. http://dx.doi.org/10.1632/pmla.2009.124.2.564.

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Trying to give an overview of the burgeoning area known as animal studies is, if you'll permit me the expression, a bit like herding cats. My recourse to that analogy is meant to suggest that “the animal,” when you think about it, is everywhere (including in the metaphors, similes, proverbs, and narratives we have relied on for centuries—millennia, even). Teach a course or write an article on the subject, and well-intentioned suggestions about interesting material pour in from all quarters. In my field alone, there's not just, say, the starring role of bear, deer, and dog at the heart of William Faulkner's Go Down, Moses and the futility of trying to imagine Ernest Hemingway without his fraternity of bulls, lions, and fish or Marianne Moore without her menagerie of pangolins and jellyfish. There's also King Kong, Babe, Charlotte's Web, Seabiscuit, The Silence of the Lambs, The Horse Whisperer, and The Fly. There's the art of Damien Hirst, Joseph Beuys, Sue Coe, William Wegman, Bill Viola, Carolee Schneeman, Lynn Randolph, and Patricia Piccinini. And all those bird poems, from Percy Shelley's skylark and John Keats's nightingale to Edgar Allan Poe's raven and Wallace Stevens's blackbird. As any medievalist or early modern scholar will tell you, the question of the animal assumes, if anything, even more centrality in earlier periods; indeed, recent and emerging scholarship suggests a picture in which the idea of the animal that we have inherited from the Enlightenment and thinkers such as Descartes and Kant is better seen as marking a brief period (if the formative one for our prevailing intellectual, political, and juridical institutions) bookended by a pre- and posthumanism that think the human/animal distinction quite otherwise. So there's also William Hogarth and Hieronymus Bosch, The Faerie Queene and Beowulf. And, of course, there is the central place of the animal in non-Western literature and culture, written and oral, which would require another essay altogether.

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23

Silvis, H. "Agricultural Policies in Europe and the USA: Farmers Between Subsidies and the Market Antonio Piccinini, Margaret Loseby (Authors), Palgrave Publishing, New York, 2001, 268 pp., US$ 75, ISBN 0-333-77576-7". Agricultural Economics 28, n.º 2 (marzo de 2003): 166–67. http://dx.doi.org/10.1016/s0169-5150(02)00047-6.

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24

Jellinek, G. "Le donne vendicate. Niccolo Piccinni". Opera Quarterly 18, n.º 1 (1 de enero de 2002): 106–8. http://dx.doi.org/10.1093/oq/18.1.106.

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25

Schneider, K. R. "Piccinini, L. C./Stampacchia, G./Vidossich, G., Ordinary Differential Equations in Rn. Problems and Methods. Berlin-Heidelberg-New York-Tokyo, Springer-Verlag 1984. XII, 385 S., 38 Abb., DM 96,—. US $ 37.70. ISBN 3-540-90723-8 (Applied Mathematical Sciences 39)". ZAMM - Journal of Applied Mathematics and Mechanics / Zeitschrift für Angewandte Mathematik und Mechanik 65, n.º 7 (1985): 274. http://dx.doi.org/10.1002/zamm.19850650706.

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26

Fregosi, W. "La Cecchina, ossia La buona figliuola. Niccolo Piccinni". Opera Quarterly 19, n.º 1 (1 de enero de 2003): 142–45. http://dx.doi.org/10.1093/oq/19.1.142.

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27

Jones, Denna. "Piccinini's interpretations of our genetic future". Lancet 362, n.º 9390 (octubre de 2003): 1163. http://dx.doi.org/10.1016/s0140-6736(03)14492-3.

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28

Moser, Magali. "O ponto de partida para uma teoria das narrativas jornalísticas". Estudos em Jornalismo e Mídia 15, n.º 1 (4 de septiembre de 2018): 174–77. http://dx.doi.org/10.5007/1984-6924.2018v15n1p174.

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Estudar o jornalismo como uma narrativa pode nos levar a uma teoria especíica? Os estudos das narrativas jornalísticas adquirem a autonomia de um campo particular? As perguntas surgem a partir da leitura de Narrativas Midiáticas Contemporâneas: perspectivas epistemológicas, organizado por Demétrio de Azeredo Soster e Fabiana Quatrin Piccinin, lançado em 2017, pela editora Catarse.

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29

McClymonds, Marita Petzoldt y Wolfram EnSSlin. "Niccolo Piccinni: Catone in Utica: Quellenuberlieferung, Auffuhrungsgeschichte und Analyse". Notes 54, n.º 2 (diciembre de 1997): 476. http://dx.doi.org/10.2307/899537.

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30

Smołucha-Sładkowska, Agnieszka. "Pairing Antagonists: Pisanello’s Medals of Niccolò Piccinino and Francesco Sforza". Notae Numismaticae - TOM XV, n.º 15 (17 de mayo de 2021): 275–304. http://dx.doi.org/10.52800/ajst.1.a.14.

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Among the early medals made by Pisanello (Antonio Pisano, c. 1395–c. 1455), considered as the “inventor of the modern medal”, there are two of mercenary captains, Niccolò Piccinino and Francesco Sforza (the future duke of Milan). At the alleged moment of the medals’ execution both condottieri were in the service of Filippo Maria Visconti, Duke of Milan, who appears to have been the most probable commissioner. The pairing of these two captains was not coincidental – they were successors to the leaders of the two greatest Italian military companies, the bracceschi (led by Braccio da Montone) and the sforzeschi (of Muzio Attendolo Sforza), whose juxtaposition soon became a topos among contemporary chroniclers and biographers. The article outlines the political background of the commission and discusses the content and iconography of the two medals.

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31

de Albuquerque Thomé, Claudia, Edna de Mello Silva, Marco Aurelio Reis y Ana Paula Goulart de Andrade. "A cobertura da Covid-19 no Rio de Janeiro: aspectos da rotina produtiva do Telejornalismo Local." Ámbitos. Revista Internacional de Comunicación, n.º 52 (2021): 71–86. http://dx.doi.org/10.12795/ambitos.2021.i52.05.

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O telejornal brasileiro passou por uma série de mudanças diante dos desafios da cobertura durante a pandemia Covid-19, com alteração das rotinas produtivas, demanda por novos papéis e competências profissionais e novas produções de sentido nas telas. Mudanças na anatomia do telejornal (Piccinin & Soster, 2012) marcam fases, que também incluem a construção narrativa que vinha sendo feita sobre a própria pandemia em todos os momentos. O objetivo deste artigo é apresentar uma análise da cobertura da pandemia em 18 edições dos telejornais RJ1 e RJ2, veiculados no estado do Rio pela Rede Globo. A metodologia adotada foi a de estudo de caso (Yin, 2011), nos primeiros nove meses de cobertura da Covid-19, tendo como referencial teórico as fases do telejornal brasileiro detectadas por Silva (2018). Buscamos aqui identificar novas estratégias narrativas (Thomé & Reis, 2019a), observando características de fases anteriores que foram retomadas e/ou ressignificadas, e também como a pandemia alterou rotinas produtivas e gerou novas produções de sentido nas telas. Fontes de informação com microfone em mãos, imagens enviados por aplicativos, repórteres com máscaras em coberturas externas, imagens de arquivo ressignificadas e predomínio de contribuições de repórteres "ao vivo". As mudanças na anatomia do telejornal (Piccinin & Soster, 2012) passaram por fases, que incluem também a construção narrativa que se fazia sobre a pandemia em cada momento da cobertura televisiva analisada.

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32

Maxson, Brian y Serena Ferente. "La Sfortuna di Jacopo Piccinino: Storia dei bracceschi in Italia 1423-1465". Sixteenth Century Journal 39, n.º 2 (1 de julio de 2008): 568. http://dx.doi.org/10.2307/20478962.

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33

Smolińska, Marta. "Dermatologia malarska. Obraz skóry a skóra obrazu". Artium Quaestiones, n.º 27 (8 de septiembre de 2018): 129–69. http://dx.doi.org/10.14746/aq.2016.27.6.

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Since the 1990s, the motif of mimetically reproduced human skin, concentrating the recipient’s attention on the sense of touch and on the surface which separates theinside from the outside, seems to have been more and more popular. It has been quite ostentatiously exposed in the works of such well-known artists as Ron Mueck, Patricia Piccinini, Pipilotti Rist, John Isaacs, and Nicole Tran Ba Vang, becoming anemblem of the present. The paradox is, however – and this is one of the claims formulated in the present essay – that the motif’s most complex versions do not appear in photography, installations or the new media, but in easel painting which has been often dismissed as inadequate to new ideas. To provide evidence – the paintings of Magdalena Moskwa, Bartosz Kokosiński, Paweł Matyszewski, Grzegorz Sztwiertnia, Saskia de Kleijn, and Marina Schulze – the author has distinguished the so-called painterly dermatology. The present time, which offers no striking generational manifestoes or dominant artistic currents, has brought us a revealing metaphor coined by Yuri Lotman who compares the activity of artists to the dissociated energy of a minefield where we can here random explosions but it is impossible to predict if and where they will actually take place. Thus, it is the author’s contention that the painterly dermatology can be perceived as one of such explosions – they can be distinctly “heard” on the contemporary global art stage and included as a singular phenomenon in a broader tendency connected to the exploration of the body in the era of media convergence.The selected artists, who have identified the motif of skin with the surface of a painting, have a initiated tension between the transformation of the body into the body of art, which is significantly close to the tradition of religious painting, and the transposition of the human skin into the skin of a painting, which stresses a metapainterly aspect and a dialog with the potential of the medium. The complexity of the painterly dermatology inaugurates a narrative which runs across not only of modernism and postmodernism, but also a centuries-old artistic tradition. Moreover, skin as a limit phenomenon is situated between the inside and the outside, putting this dualistic division into doubt. As a topic, it is both archaic and contemporary. Also, it should not be forgotten that the growing interest in the motif of skin is taking place in the context of changes of the hierarchy of the senses, downgrading sight in favor of touch and the tactile qualities of art which activate the sensomotoric and soma esthetic perception. After all, the sense of touch has always been located in the skin. Referring to Geoges Didi-Huberman, Hans Belting, and David Freedberg’s anthropology of painting as well as to Vilém Flusser’s extended philosophical dermatology, the author suggests that the easel painting provides the ground for the most complex artistic experiments in which the medium continues its self-critical work, being continuously reinvented, even though it does not remain as pure as Clement Greenberg wanted it to be. The question of the “painterly dermatology” corresponds to a claim of Rosalind Krauss that the “post-media era” does not dismiss the problem of the medium but readdresses it in a polemical context. The medium in the paintings of Moskwa, Matyszewski, Kokosiński, Sztwiertnia, de Kleijn, and Schulze, in which the picture of the skin is also the skin of the picture, has been defined in the essay as a network of conventions which determines a zone mediating between the material stratum of the painting and its aesthetic qualities, initiating critical and differentiating dialogs with the received tradition.

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34

Lee, Namjai. "Iphigénie en Taurides of Gluck and Piccinni: Intersection of Tragedy and Drama". Music Theory Forum 27, n.º 2 (30 de diciembre de 2020): 35–68. http://dx.doi.org/10.16940/ymr.2020.27.2.35.

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35

Grempler, Martina. "Ensemblebearbeitungen in der Opera buffa an den Wiener Theatern der 1760er Jahre". Die Musikforschung 65, n.º 2 (22 de septiembre de 2021): 127–45. http://dx.doi.org/10.52412/mf.2012.h2.150.

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Der Beitrag behandelt an verschiedenen Beispielen (v.a. Niccolò Piccinni "La buona figliuola", "Le contadine bizzarre" sowie "Lo sposo burlato", Antonio Sacchini "La contadina in corte", Giuseppe Scolari "La cascina") die Bearbeitungspraxis am Wiener Burg- und Kärntnertortheater zur Zeit von Kaiserin Maria Theresia. Unter der Direktion des Opernkapellmeisters Florian Leopold Gassmann, der sich auf ein besonders hochklassiges Sängerkollektiv stützen konnte, kam es dort zu einer überdurchschnittlich intensiven Revision nicht nur von Arien, sondern auch von Ensembles. Dabei zeigen sich verschiedene Möglichkeiten des Vorgehens von der Hinzufügung oder Streichung einzelner Stimmen über die Einarbeitung von neuen musikalischen Abschnitten bis hin zur vollständigen Neukomposition eines Finaltextes.

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36

Schmierer, Elisabeth. "Piccinni's Iphigénie en Tauride: ‘Chant périodique’ and dramatic structure". Cambridge Opera Journal 4, n.º 2 (julio de 1992): 91–118. http://dx.doi.org/10.1017/s0954586700003682.

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For my part, I cannot cease admiring the intelligence with which Monsieur Piccinni has led the audience from sentiment to sentiment, from interest to interest; how he has graduated the effect of his music – how one feels not only each scene but also its connection with the general tone of the subject; how all the airs, all the recitatives, all the ballets, all the choruses tend to refer to the whole, how all these individual groups eventually form a total group in which everything agrees, everything is true, in which each detail sets off those surrounding it. That is worthy to be called genuine dramatic music.

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37

Polzonetti, P. "Quakers and Cowboys: Italian Mythologies and Stereotypes of Americans from Piccinni to Puccini". Opera Quarterly 23, n.º 1 (2 de julio de 2008): 22–38. http://dx.doi.org/10.1093/oq/kbn017.

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Betzwieser, Thomas. "Exoticism and politics: Beaumarchais' and Salieri's Le Couronnement de Tarare (1790)". Cambridge Opera Journal 6, n.º 2 (julio de 1994): 91–112. http://dx.doi.org/10.1017/s0954586700004195.

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Not least because of its librettist, Tarare (1787) ranks among the most interesting ‘reform’ operas of the eighteenth century. The work was by no means unique among such efforts at the Académie Royale de Musique, but it undoubtedly had the greatest impact after the Piccinni controversy at the end of the 1770s, in part because Beaumarchais was untiring in his efforts to promote the new opera – a task at which he was far superior to his librettistic colleagues. He presented his new operatic conception in a detailed preface to the libretto (‘Aux Abonnés de l'Opéra’), the central point of which was to emphasise the mixture of conventional genre traditions, in particular of serious and comic elements.

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39

Lett, Didier. "Anna Esposito, Franco Franceschi et Gabriella Piccinni (a cura di), Violenza alle donne. Una pro". Clio, n.º 52 (1 de diciembre de 2020): 280–83. http://dx.doi.org/10.4000/clio.18779.

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40

Rice, John A. "The Staging of Salieri’s Les Danaïdes as Seen by a Cellist in the Orchestra". Cambridge Opera Journal 26, n.º 1 (19 de febrero de 2014): 65–82. http://dx.doi.org/10.1017/s0954586713000335.

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AbstractDuring the 1780s a cellist in the orchestra of the Opéra, known only as Monsieur Hivart, served the Russian Count Nicholas Sheremetev as an operatic agent, sending scores, librettos, costume designs, stage designs and other materials related to opera in Paris, and advising the count on the production of French operas in Russia. Hivart was in contact with such composers as Grétry, Sacchini and Piccinni, and the stage machinist and ballet master of the Opéra, and from his place in the orchestra he could watch their work take shape on stage. This gives his letters to Sheremetev (published in Russian translation in 1944 but largely unknown in the West) significant value for historians of opera in eighteenth-century Paris. Especially extensive are Hivart’s reports on the first production of Salieri’s Les Danaïdes, which contain much information about the first production available nowhere else.

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41

Goriss‐Hunter, Anitra. "Slippery mutants perform and wink at maternal insurrections: Patricia Piccinini's monstrous cute". Continuum 18, n.º 4 (diciembre de 2004): 541–53. http://dx.doi.org/10.1080/1030431042000297653.

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Moshenska, Gabriel. "Cornelius Holtorf and Angela Piccini (eds):Contemporary Archaeologies: Excavating Now". Norwegian Archaeological Review 42, n.º 2 (2 de diciembre de 2009): 205–7. http://dx.doi.org/10.1080/00293650903354346.

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43

Boraman, Toby. "Jon Piccini. Transnational Protest, Australia and the 1960s: Global Radicals." American Historical Review 124, n.º 2 (1 de abril de 2019): 635–36. http://dx.doi.org/10.1093/ahr/rhz147.

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44

Canclini, Nestor Garcia, Margarita Zires, Raymundo Mier y Mabel Piccini. "The Hybrid: A Conversation with Margarita Zires, Raymundo Mier, and Mabel Piccini". boundary 2 20, n.º 3 (1993): 77. http://dx.doi.org/10.2307/303342.

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45

King, Richard G. y Saskia Willaert. "Giovanni Francesco Crosa and the First Italian Comic Operas in London, Brussels and Amsterdam, 1748–50". Journal of the Royal Musical Association 118, n.º 2 (1993): 246–75. http://dx.doi.org/10.1093/jrma/118.2.246.

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In the autumn of 1748 the opera audience in London was introduced to a newly arrived troupe of Italian singers, an eccentric impresario and an operatic genre previously unknown in England. The buffo company, led by ‘Doctor’ Giovanni Francesco Crosa, would entertain the King's Theatre public for the first time with full-length Italian comic operas. In May 1750, after two tumultuous seasons which saw the gradual dissolution of the troupe and financial disaster for the management, Crosa fled the country, never to return. The King's Theatre closed its doors, to reopen only in the autumn of 1753 with a programme devoted exclusively to serious opera. It was not until 1766, when Piccini's La buona figliuola conquered the London opera stage, that Italian comic opera found real success at the King's.

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46

Smith, Andrew James y Elfriede Dreyer. "Themes of genetic engineering and the homunculus in Patricia Piccinini's sculptural installation, We are Family". de arte 44, n.º 79 (enero de 2009): 23–33. http://dx.doi.org/10.1080/00043389.2009.11877104.

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Bowsky, William M. "Il "Libro del pellegrino" (Siena, 1382-1446): Affari, uomini, monete nell'Ospedale di Santa Maria della Scala. Gabriella Piccinni , Lucia Travaini". Speculum 81, n.º 1 (enero de 2006): 255–56. http://dx.doi.org/10.1017/s0038713400020145.

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48

Speaight, George. "The Origin of Punch and Judy: A New Clue?" Theatre Research International 20, n.º 3 (1995): 200–206. http://dx.doi.org/10.1017/s0307883300008658.

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The general opinion, voiced on instinct rather than conclusive evidence, has been that the Punch and Judy show came from Italy. The name Punch is clearly derived, via Punchinello (1667), Polichinello (1666), and Policinella (1664), from Pulcinella, the commedia dell'arte character who originated in Naples about 1600. Prints in abundance show a puppet performance, resembling Punch and Judy, in Naples, Rome and Venice in the eighteenth and the early years of the nineteenth century. And one of the earliest, and perhaps the earliest Punch performer on the streets of London was an Italian, Piccini by name, whose show was immortalized by George Cruikshank's drawings and, to a lesser extent, by Payne Collier's edited text in 1828.

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49

Strohmaier, David. "Organisations as Computing Systems". Journal of Social Ontology 6, n.º 2 (1 de agosto de 2020): 211–36. http://dx.doi.org/10.1515/jso-2020-0052.

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Abstract Organisations are computing systems. The university’s sports centre is a computing system for managing sports teams and facilities. The tenure committee is a computing system for assigning tenure status. Despite an increasing number of publications in group ontology, the computational nature of organisations has not been recognised. The present paper is the first in this debate to propose a theory of organisations as groups structured for computing. I begin by describing the current situation in group ontology and by spelling out the thesis in more detail. I then present the example of a sports centre to illustrate why one might intuitively think of organisations as computing systems. To substantiate the thesis, I introduce Piccinini’s restrictive analysis of physical computation. As I show, organisations meet all criteria for being computing systems. Organisations are structured groups with the function of manipulating medium-independent vehicles according to rules. Furthermore, I argue for the modal claim that this is a necessary feature of organisations. Having sketched the computational account of organisations, I compare it to other proposals in the literature.

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Pinho, Joana Balsa de y Edite Martins Alberto. "CIDADE E SAÚDE". Revista Espacialidades 17, n.º 1 (29 de marzo de 2021): 91–123. http://dx.doi.org/10.21680/1984-817x.2021v17n1id21889.

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Fundado com a anterioridade a 1492, em Lisboa, o Hospital Real de Todos-os-Santos foi o primeiro edifício público hospitalar de iniciativa régia em Portugal. Em atividade até 1775, quando se inicia a sua demolição, o edifício, marcou o desenho da cidade, dos seus espaços públicos e de circulação, tornando-se um símbolo do poder régio e de urbanidade. Tendo por base a documentação administrativa pertencente ao arquivo do hospital, obras de autores coevos, iconografia da cidade e vária documentação de outros fundos, este texto procura contribuir para a compreensão do edifício e para a sua caracterização como espaço de saúde. Pretende-se igualmente analisar o hospital como local social, elemento ordenador do espaço urbano, e símbolo cívico, prestigiador dos seus promotores, na linha em que têm sido estudados outros hospitais europeus por Félez (1979), Bianchi e Słoń (2006) e Piccini (2016).

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